Nocturne Upon St. Lucy’s Day, a video-installation project, belongs to that severe reduction of the theatrical event I call Cabinet Theater, where the unconscious drama in which we are both spectators and actors can be enacted.

While the installation’s raison d’êtrat is despair over humankind’s “curatorial” failure to conserve habitat, it also questions the nature of the museum itself. Does an object cease to be representative when the original conditions of its existence no longer obtain? Isolated and bereft, does it become sui generis?

Installation art, or cabinet theatre as I call my scenarios for it (to acknowledge a theatrical orientation inevitable for one whose early career was spent largely in writing nonrealistic plays served by stage spectacle), needs little more than an object in light – together with a narrative no matter how tenuous – to enact a drama.